This article examines the visualization of plants in science from the eighteenth century to the early twenty-first century, focusing on its entanglement with changing epistemological regimes of objectivity. Drawing on the work of Lorraine Daston and Peter Galison, Bruno Latour, Donna Haraway, Karen Barad, and Michael Marder, the paper traces a shift from representation as a mode of objectification toward presentation and performative forms of visual knowledge. Particular attention is paid to contemporary practices—bioluminescent plants, machine vision, plant-based sensors, and art–science projects—in which plants emerge as agentive participants rather than passive research objects. The article argues that scientific visualization today functions as a site for reconfiguring relationships between humans, technologies, and vegetal life.